A history of art in Chaldæa & Assyria, Vol. 2 (of 2) — John Shaqi
A history of art in Chaldæa & Assyria, Vol. 2 (of 2)Perrot, Georges
History
A history of art in Chaldæa & Assyria, Vol. 2 (of 2)
Perrot, Georges
Art -- Assyria -- History; Art -- Iraq -- Babylonia; Assyria -- Antiquities; Babylonia -- Antiquities
only one that has been completely explored.
We cannot attempt to describe the ruins of so many palaces. No one
of them is an exact copy of any other; their dimensions, and many of
their arrangements have much variety, but nevertheless, we may say
that they all follow the same general plan. The only way to avoid
continual repetition is to take, as a type of all, the example that has
been most completely studied. Our choice of such a type is soon made.
The palace of Sargon, at Khorsabad, may be neither the largest of the
Assyrian palaces nor that in which the best sculptors were employed
upon the decorations, but it is certainly that in which the excavations
have been most systematically carried on. Except at a few points the
explorers have only held their hands when the flat summit of the mound
was reached. The whole has been cleared except the centres of some of
the quadrangles and a few unimportant outbuildings. Nowhere else can
the general arrangement be so clearly followed, or the guiding spirit
of an Assyrian plan so easily grasped.
[Illustration:
PLATE V
PALACE OF SARGON, KHORSABAD
BIRD’S-EYE VIEW BY CH. CHIPIEZ FROM
The restoration by F Thomas]
[Illustration: FIG. 2.--The mound and village of
Khorsabad before the commencement of the excavations; from Botta.]
§ 2.--_The Palace of Sargon._
The mound in which the remains of Sargon’s palace had lain concealed
for so many centuries bore on its summit, before the excavations began,
a small village called Khorsabad (Fig. 2). It rises about nine miles
north-north-east of Mossoul on the eastern bank of the Khausser, an
affluent of the Tigris, and in the neighbourhood of the mountains which
begin to draw in towards the left bank of that river not far above the
site of Nineveh. Botta was induced to begin his excavations at this
point on account of the numerous fragments of cuneiform inscriptions
which were found there by the peasants of the village. He sent a number
of workmen to Khorsabad under the superintendence of his confidential
servant, Charles Michel, who, twenty years afterwards, was my dragoman
in Asia Minor.[9] How often during our long marches through forests
and across barren steppes he entertained me with the story of how he
discovered Nineveh, as, like his master Botta, he always called it, my
readers may guess. “We arrived at Khorsabad towards evening, and after
exploring the village I was rather puzzled as to what I should find for
my men to do--we had already been so often deceived. At Kouyundjik we
had raised no end of dust and found hardly anything. While turning over
this question in my mind I had my supper before the door of one of the
houses, and after the meal was over, I was idly scratching the ground
by the side of the mat on which I was lying, with my knife. Suddenly I
felt the blade strike against something very hard; I withdrew it, and
thrusting my finger into the hole, I felt a stone. Working away with
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